Hey guys my name is Tyler white song and today I want to just give it to you straight so there's a lot of talk and honestly a lot of confusion and even misconceptions about a mixed voice what is a mixed voice how do I sing in a mixed voice what does it sound like what does it feel like how do I know if I'm doing it and the list goes on so hopefully today I can give you some clarity and some direction on what a mixed voice is how to do it how to train it and how to be headed in the correct path of achieving this famous mixed voice so first of all the mixed voice is a part of a registration right so for men typically anywhere from middle C on up to high C that's C for up to c5 that can be utilized as a mixed voice registration for women you're gonna be singing in your mixed voice anywhere from this depending on the voice type F sharp on it to this F so f sharp for up to F sharp five you know and some divas don't even higher but that's the typical range that you're gonna use a mixed voicing so everywhere in between there okay so we know we have this chest voice right then I'm then I'm speaking it even all of you out there put your hand on your on top of your sternum and just say hello how are you that's that's your chest voice that you used to speak with end typically to sing down lower with and if you put a hand on top of your head and say that's your head voice okay a lot of you probably already know that and you know it's kind of been the thing to say and then your mixed voice is a blend of those two kind of that's kind of true it's a little bit of chest it's a little bit of head yes and not really here's the thing when you're singing down low in your chest voice there's certain muscles in your vocal cords that are active and are carrying the load of vibrating as you go up higher there are certain muscles when you go into head voice you can kind of full set out that are now carrying the load of vibe a vibration if you will and they're really two different modes so you can think of them as mode 1 and mode 2 now I based on my research and 10 plus years of doing this now believe that there is a mode 1.5 okay and that is that mixed voice now some people believe you can take that chest voice all the way up and you kind of can but the thing is most likely you'll end up getting some vocal damage or your just your voice is gonna be tired all the time now you can't take mode two all the way down you sound plenty right you just you can't do that maybe for the top top notes so you can do that but there has to be something in the middle and that's kind of that mode 1.5 and that is the mix okay so how do we do it then well the best way I have found to actually find your mixed voice not just to even find it but to train it or what are called semi occluded exercises aka exercises with your mouth closed so my favorite one to do and that I hope you will do today is the puffy cheek where you just [Music] well blow your cheeks up like a Blowfish or like trying to blow out birthday candles and make sound and then what you need to do is a slide from down low up to the middle party range or up to the now although it doesn't sound impressive or anything with my mouth closed like that that is my mix and it's so amazing because you could be working on that mixed coordination all day every day by simply just going you don't have to put the red light those things over you don't have money to the night [Music] in the exact same place so this puffy cheek this when you do that what is happening is even if you just do that you're trapping this pressure in your mouth it's called the scientific name is interaural pressure just pressure in your mouth when you create that pressure in your mouth there's also pressure in between the vocal cords themselves which is called intregal pressure or pressure between the glottis the glottis is the space between your vocal cords where they come together so it's not just about cord closure because if it was everybody could do it but it's also about the balance of pressure between the vocal cords themselves so that they don't bang together too hard because when they bang together too hard you're just pressing you're just straining you're just yelling at that point so you have to learn to balance all of these different pressures and there's there's more to it than that too with all the musculature and all this stuff but just know if you can slide from a low note up to a high note and then even just live on notes with that exercise the puffy cheek and then open your mouth from there it's so simple if you say I'm uh male tenor hi-c then if I open up to a which is like a light mix it's like a fuller mix and know that it's not just head voice is it is a fuller mix that you could absolutely use the sing with and to be honest I can take that up to two pretty high notes I mean for me I don't like to go much above like a deep right there d5 but the point is that I can because it's easy it doesn't feel hard and that is that mode one point five so what is mix it is that mode that's in between mode one and two what does it sound like well it sounds kind of like this if you can find it if you could slide into it with your cheeks puffed up like that and did you know there should be too much pressure in here in your throat the pressure in your cheeks and in your lips and you'll feel you'll feel support happening in your abdominal area in your respiration area as well so it sounds like that and then if you can slowly open your mouth which is what we all want to do and keep the same configuration of that mode one-point-five my friend you are now in your mixed voice and you can work on this every day in fact I encourage you to work on this every day slide from the bottom of your range up to the top of your range using this semi included exercises this puffy cheek exercise and you will be developing the musculature that is needed in order to sing in your mixed voice make sure if this video was helpful to you you give me a thumbs up and please if you like this video please subscribe to my channel I would be so honored to have you as a subscriber and I'm going to continue to provide you with some valuable content I can't wait.
Mixed voice. It's kind of a strange terminology. I mean aren't all sounds a mix in one way or another? Today in easy to understand language, I'm going to unravel the mystery that is mixed voice and give you a couple of suggested songs that will help you to access and practice a mixed sound. Stick around. I promise it will be a lot of fun. – [Woman] Sound check. (upbeat instrumental music) Check one, check two. (upbeat instrumental music) – Hi there, everyone. My name is Dr. Dan. I'm so glad you took a moment to click on my video. Today we're going to take a look at mixed voice. Now you may have come across this term online a few times, and like many others, you may have become confused by the term's use and application.
It might be this same sense of confusion that caused Voice Essential subscriber Arunava to leave this question on one of my videos. Hi Dr. Dan. This was a great video. Can you please do a video on the mix register? I hear people talk about it all the time, but no one ever demonstrates its use while singing. If you can make a video on it or if you can just give me an example of a song where it is used by a singer and is clear enough to point out. Can do, so hear we go. Okay, firstly, let's make sure we're all on the same page when it comes to defining what mix is. Mix, or mixed voice, is quite simply the term given to a mechanistic balance within the larynx. It's literally a mix somewhere between your chest voice and your head voice.
Now on the surface of it, that's all very easy, but the confusion for many is found in the very term itself, mix, because essentially every sound that your voice makes is a mix to one degree or another, and it's for this reason that in my studio I often use the term balanced to describe the register tonality that is neither head nor chest, but both, but I have to admit that I'm not 100% happy with that term either because ultimately I want every sound that we make to have a good sense of balance. Now if you can recommend a better term to replace mix or balance, I'm all ears. Leave a comment below. All suggestions will be eagerly read and responded to. – [Woman] Sound check. (upbeat instrumental music) – Now in order to keep today's video a deal shorter than a postgraduate lecture in voice mechanics, allow me to direct you to a full explanation on voice registration that will detail how your voice works and how it moves through its four registers.
The video Head and Chest Voice Explained describes not only the four registers, but also the movements that take place between the registers. Now these three points are called transitions, and the transitions or mechanical gear shifts, the points at which the two primary registers, the thyroarytenoid, the TA muscle, and the cricothyroid, the CT muscle, naturally coordinate their mechanical balance. Now simply put, the TA and CT muscles work with each other and equally against each other, kind of like a tug of war. It's a similar relationship to your bicep and triceps muscles. When I want to raise my arm, my bicep activates and contracts at the same that my triceps release their activation, slowly working with but against the bicep to coordinate even and steady raising of my forearm. Now many of our muscles work in this tug of war kind of way.
It's called an antagonistic and agonistic pairing. The TA and CT muscles work together in the same way. Typically when singers talk about chest voice sounds, they are referring to a TA dominant mechanism. The TA muscles are winning the tug of war. A TA dominant note sounds like this. (sings) Big and full bodied. The opposite is also true. Generally when we talk about head voice, we're referring to a CT dominant sound, and a CT dominant note sounds like this. (sings) But when the TA and CT muscles are equally activated by the voice, we then have a blending or a mix of both registrational qualities, which might sound something like this.
(sings) – [Woman] Sound check. (upbeat instrumental music) – Now because there aren't any universally accepted and codified values around what constitutes a mix sound, I think it's helpful to first establish a clear understanding of your own distinct four registers. By developing each register and strengthening the muscle coordination for each part of your voice, you'll be better placed to start working on the coordination that is required to move through the transitional points, and this is where it gets a little tricky because while the primary transition point, what some pedagogues refer to as the big break, or prime passaggio, is biologically fixed at around E to F4, the singer, by virtue of their muscular balancing, can activate the transition later or earlier, and that is higher or lower, so for example, some female pop rock vocals will want to maintain a TA dominant sound up towards C and D5.
This in turn means the transition must be withheld for almost an octave, and some modern music theater pieces will require the female singer to belt with a TA dominant sound up to and including F5, a full octave above the voice's natural transitionary point. Now in a similar fashion, some classical singers will activate the transition much lower in their range, ensuring that a CT dominant sound is heard throughout the chosen piece. To the untrained ear, it can can sound like there's no transitional point because the singer has chosen willingly or otherwise to govern their sound with, in the case of the classical example, a CT dominant mechanism. But of course in this video we want to learn to sing in a mixed voice. We want a relative balance between the TA and CT timbres. Well I've got a couple of songs that I think you'll really enjoy working on to that end.
But before I reveal these magical tunes, allow me to request a thumbs up if you're enjoying today's video. – [Woman] Sound check. (upbeat instrumental music) – I've provided some helpful exercises for workshopping your transitions in a previous video, How to Smooth Vocal Breaks in Singing. I'll leave a link in the description section below so that you can practice the movement between your TA and CT dominance. Now let's add to those transition exercises with a couple of songs that I think you'll find handy when applying your mixed voice sounds. I've got one for the ladies and one for the men. Ladies first, of course. The song that I've chosen is the Nora Jones piece Don't Know Why.
Now have a listen to the first verse when sung with a mixed voice. ♫ I waited till I saw the sun ♫ Don't know why I didn't come ♫ I left you by the house of fun ♫ Don't know why I didn't come ♫ I don't know why I didn't come – I'm sure you can hear the middle of the road tonality that is a mixed voice. Now let me highlight it further. I'll start in a mixed voice then I'll convert to a TA dominant sound, followed by a CT dominant sound, and then I'll return to a mixed voicing. Have a listen. ♫ I waited till I saw the sun ♫ Don't know why I didn't come ♫ I left you by the house of fun ♫ Don't know why I didn't come ♫ I don't know why I didn't come Now let's listen to a mixed sound when sung over the song I've chosen for the guys, Chasing Cars by Snow Patrol.
♫ We'll do it all ♫ Everything ♫ On our own ♫ We don't need ♫ Anything ♫ Or anyone And now let's move from a mixed to TA to CT and back to mixed. ♫ We'll do it all ♫ Everything ♫ On our own ♫ We don't need ♫ Anything ♫ Or anyone ♫ If I lay here ♫ If I just lay here Now when I'm singing through those two songs, I'm deciding what timbre, what color I want to apply to the lyric and melody, and when I want a TA dominant sound, I choose to use a darker, slightly louder sound, in which turn activates the thicker vocal fold, a thyroarytenoid dominant sound, and when I want to achieve a CT dominant sound, I intentionally lighten the color of the sound and back the volume off.
The result, a cricothyroid dominant sound that is produced with a thinner vocal fold. And again, when I want to sing with a mixed voice, I simply aim for a middle of the road balance somewhere in between the TA and CT values I just outlined. Now let me highlight that all three tonalities were achieved on the same song in the same key. TA and CT dominance, as well as mixed voice, are not note dependent. They are singer dependent. That is as long as the singer has developed the skills necessary to govern and direct the voice, they can make and create sounds according to what their artistic endeavors require.
I wanted to simplify the whole subject of mixed voice, so I hope today's video hasn't unwittingly muddied the waters further for you. Leave me any questions in the comment section below if you require further explanation, and as always, I'll do my best to provide extra clarification if necessary. And if this is the first time you've watched one of my videos, or if it's your second or third and you haven't already subscribed to the channel, allow me to encourage you to join our ever growing community of singers from across the globe who, just like you, want to raise their voice in song. Simply hit the subscribe button on the Voice Essentials channel and I'll bring you new videos each week designed to develop your voice and improve your sound. I'll see you in the next Voice Essentials video. I'm Dr. Dan, sing well.
Hi everyone happy Thursday thank you for tuning in for another voice lesson today we will be talking about our mixed voice our middle register so what is your mixed voice this is called your middle register and it's essentially the space that lies between your lower and upper register it's very apparent when you have that vocal break and it's a really weak sounding place in our voice for most of us it's something that we want to work on strengthening why strengthen at your mixed voice why work on your mixed voice well you can increase your vocal power it's very similar to when I talked about twang a couple weeks ago if you can learn how to strengthen your mix register you'll be able to have a lot more versatility as a singer you'll be able to sing some higher notes in a really healthy place and it'll give you increased power in that kind of middle ground where you feel like it gets really weak or there's that apparent break so what we're working on is kind of erasing the middle register so you can just create one voice but of course you have your lower and your middle and your upper registers and we're just trying to kind of create that seamless transition and connect them better so that's why we strengthen our mix voice your mix voice will also encourage you to sing without strain when we're pulling our chest voice up or pushing our chest waist to high that gets into a dangerous territory where we're putting a lot of strain that's unnecessary on our voice and then there are some of those notes in our upper register that we feel like we want to sing more powerfully maybe twang is a little too intense for us so we work on really strengthening that middle register now I'm going to give you an example of an exercise and you can hear me sing it in my chest and in my head voice and then I'll demonstrate using my mixed voice this is in my head voice yah now if I ah it's a lot more powerful sound maybe a little too brassy a little too right for what we want so now I'll use my mixed voice kind of combine the two yeah a recent example of when I used mixed register was in the song hello I covered hello by Adele and I'm going to show you this clip really quickly um where I'm belting and then I go into my mix voice and these a little bit of twanging there and then go back to a belt so you can hear the difference I hope I'll put a little star on the screen by the moment where I transition into a mix and also into a little bit of that twanging sound that I talked about two weeks ago so so when I recorded this I was struggling with what I wanted to do sometimes I do just want to belt that note out but sometimes it's just simply too high and so I want to be able to create a powerful sound and use my mix register and that strength I have in that mixed part of my voice and then I added some twine to really create that sharp vibrant sound so that's a pretty good example of how I put that into practice but today I'm going to give you some examples on how you can work on developing your mixed register the most important thing to think about when you are working on your mix register is to be patient this is just like anything that we've been working on it takes time you're building up endurance you have to work and work at it and be okay with your voice having that break so starting with lip rolls this is a good warm-up and it's also a good way to kind of feel where your voice is I want you to start and I want you to try to be singing this kind of behind your nose try to sing all of this in your head voice in that upper register this should make your nose itch if you can't do the lip buzzes you can also stick your tongue out and try raspberry or try your arse the idea is that we work on strengthening that head voice now when I work on mixed register I really try to transition down my head voice so I do a lot of these warm-ups that I would normally be able to do and you'll be able to reach in your chest voice but try them in your head voice in your upper register so if I were starting on Mel C and singing this in my chest voice yah yah yah yah that's how it would sound now I'm gonna try to sing this in my upper register yah yah yah yah feels really weak but this is a really great exercise for strengthening that middle register yah yah yah yah now I want you to try this and really concentrate on staying in your head voice mmm yah yah yah yah yah it's gonna feel really weak and it's okay just go with it yah yah yah yah yah yah yah Oh YUM next I want you to try an open mouth hum but your tongue on the roof of your mouth kind of just behind your teeth mmm so you still have space inside and you're gonna get to a part in your voice where it breaks where your vocal break is you have to get to know your hmm just let it happen be okay with it this is how we work on it now the more you work on this exercise you will start to feel like there's less of a noticeable break I think a lot through that one but you can start really working on smoothing out that transition in that vocal break so now I'll give you one more exercise that you can do on your own to really work on strengthening this transition here so I want you to start on yah-ha-ha and really work on using that tummy and supporting love with your breath heal oh yeah now you're gonna get to a point where it's gonna break into your head voice and that's okay just let it happen and it's okay if it feels weak it's gonna sound weak and you'll work on building that up yeah hahahaha there was yah now when I transition into my head voice I like to switch my vowel oh good so if you can do that and work back and forth kind of in that middle ground yeah hahahaha when you get to that break really work on that transition there lastly would be scales scales are a really great way to tell kind of how your voice is moving through those transitions so let's start on a Z again I want you to start on middle C and I want you to sing this in your upper register see see see focus on sending the sound into your nose right here into your mask Z Z Z Z so if you couldn't work on these exercises just a little bit every day I promise you'll start to develop more strength in that mixed register really focus on where your voice is transitioning and I encourage you to spend more time in that upper register feeling and putting more and more support more air from your grounded belly and sending the sound right out through the front of your face you'll feel the most resonance in this mixed area kind of right here rather than all the way up in your head but sending it really forward and out so work on that transition and if you have any questions or comments please leave them below and I will get back to you and we can continue working on this together most importantly is really getting to know your voice so finding out where that vocal break is where you feel that weak spot where there are those notes that you just can't figure out how to create more sound and more power there it's really important to remember to have patience with yourself be okay with your voice sounding weak this is why we're doing this this is why you're practicing these exercises and this is what will help you grow and strengthen your voice is if you have patience and you work on it every day a little bit every day if you could vocalize a little bit every day like you're already doing warming up every day working a little bit on your chest voice a little bit on your head voice we'll work on our lower register in two weeks but working in that mixed space which isn't our favorite because it's that weak part of our voice that we really need to work on and the whole point is just to create one awesome voice so you're not constantly thinking my lower register my upper register my middle register it's just one big lovely voice and we're figuring out how to transition through it as seamlessly as possible thank you so much everyone I really appreciate you tuning in this week if you'd like to see my latest music video it's a Sara Bareilles cover I know another one she's my favorite and she wrote the music to a new musical called waitress so it's a song from waitress called she used to be mine check it out right here as always I'll be back next week with something musical and we will have voice lessons coming up after that so thanks so much for watching everyone I will see you all soon.
Hi everybody my name is Justin stony and I'm the founder of New York vocal coaching here in New York City welcome to episode 88 of voice lessons to the world the show where we want to help you as singers by answering your questions from all over and I'll give you a chance to ask questions later but our question for this week comes from Ivana our in Buenos Aires Argentina and Ivana writes dear Justin how do I find the mixed voice now Ivana you know I love that question because this is part three of our series so hop on that plane board that train get in your automobile get in your catmobile we're going on a vocal now that we've arrived let's look at what is the mix voice and the first thing is that it's a blend of strength and flexibility earlier in our world tour we saw that chest voice is our strength feature and head voice is our flexibility feature well the mix combines strength and flexibility so you can see why it's our most coveted coordination in fact most of your favorite singers are probably singing in mixed coordination 90% of the time it allows us to do a lot of vocal athletics in a healthy way and a sustainable way but how do we do it well the vocal muscles are going to have to work together in harmony now let's be clear all the vocal muscles work all the time it's not like only these muscles work in chest voice and only those muscles work in head voice no everybody's always working together but the mix is a very intricate coordination the CT cricothyroid muscle lengthens the chords the TA thyroarytenoid muscle shortens and also tones the chords when the CT lengthens the chords are going to want to go wee and fall apart but the TA has the ability to tone them up so the mix is going to be long but also strong but let's not forget that this is an open and closed case the key factor for determining vocal registers really comes down to open and closed quotient that just means how long the vocal folds stays shut during their vibration so in chest voice I've got a lot of close quotient man and in head voice in falsetto I've got a lot of open quotient but and the next voice I'm going to have all kinds of blends between the two that's accommodated by those changes in the vocal musculature but there's also the resonance factor our voices are produced by breath vocal fold vibration z' and of course resonance when the sound resonates in the pharynx the nasal pharynx and the nasal cavity allows our voices to carry and to be present without the vocal folds bearing too much weight so when we have to blend for the mix you can see why resonance is going to be a key factor to get that CT stretch and to take the pressure off the chords we're going to have to use our head resonance but now that you're starting to understand what the mix is let's make sure that we know there is not just one mix it's a common mistake for us to think of the mix as just one voice and we think was that the mix I got a search for my mix I was singing I didn't know if I was in my mix or not who can help me find the mix and we can lose our minds trying to determine whether something's a mix when really I'm thrilled and also sorry to say that the mix is an infinite amount of vocal coordination z' some examples though if I'm strong but not forcing my voice and I still have my resonance that's a chest dominant mix if I'm singing plain and straight down the center that's a 50\/50 kind of mix if I'm singing lightly but I'm not losing some of my core strength I'm not flimsy with my lighter qualities that's a head dominant mix so there's so many possibilities and many more than just those it's best Illustrated I think with a song so today I chose the classic folk song the House of the Rising Sun a classic folk song like the House of the Rising Sun really allows me to have fun and explore the different mixed coordination to get strong without letting it get away from me or to get light without it becoming too weak let's there is a house in New Orleans they call the Rising Sun and it's been the ruin of many a poor boy and God knows upon my mother was a tailor she sewed my new blue jeans my daddy was a gamblin man way down in new it really allows me to get strong and to get light to move back and forth in different mix coordination so now let's talk about tips for finding the mix voices the first tip to keep in mind when you're working on your mix voice is that strength comes from within perhaps the most overlooked aspect of vocal training is medial compression that's how much our vocal folds come to the center and yes our vocal folds can be responsible for their own destiny try something say hello they're too tight now hello they're just right and hello there Toulouse if we're going to get the mix down we're going to have to have the ability to loosen or tighten the vocal folds just them nobody else helping them but with great compression comes great responsibility one singers discover their compression control it's like a revelation they can finally do things with their voices that they never thought possible but there's a danger in it we sometimes get so in love with controlling things from the tension and looseness of the chords we forget about the breath we still need that good supportive breath deep in the body the belly in the ribs and you're going to flow with a gentle stream of air everything riding on that breath so don't just control things at the vocal fold level also let your breath help you and we cannot forget to sing in Louise you've all heard people say sing out Louise that means to project your sound to the back the auditorium well that's not going to work so well for the mixed voice no no we need to sing in Louie's that means to tilt and rock the larynx to stretch the vocal folds to feel the sound resonate in the pharynx the nasopharynx Enda hmm nasal cavity all of these resonance features help accommodate the strength of the vocal folds so we really got to keep that head resonance in mind when we're doing the mix we also have to keep in mind that good singing isn't loud singing a lot of times when we hear a really great singer with a great mix we mistake their power for volume especially with the chest dominant mix we hear all that power that's being done at the chord level and the resonance level and we say wow let me try that and we get really loud volume is not the solution for your voice nor is it going to get your mix worked out in fact it's just the opposite we want our strong sounds to be very similar to our soft sounds as far as their production then we really know that we've got the mix and we can go back and forth between chest dominant mix and head dominant mix finally you mustn't fear the crack maybe the biggest reason that singers don't get their mix worked out is because of a fear of cracking now you can watch episode 12 of our show for a full treatment on cracking but really remember cracking is not bad for you it's good for you it's the vocal chords picking their preferred vibration CT winning and ta letting go now obviously we don't want it to happen to us on stage but you must not fear cracking when you're trying to work on your mix it's a me Mario and it's a you Singha and you're not gonna so we're going to do a vocal exercise and the goal is not to crack no we want to stay solid but if you crack it's okay you have to be willing to crack as you work on that small mixed coordination so let's try our exercise this is good nun nun g un u un on an eight five one in this exercise the g is going to be providing the vocal chords some strength the e is going to keep the sound in the head and the larynx table and the ends going to reinforce that head resonance now like I say it's okay to crack but the goal is to stay solid using that firm G sound want to start with guys that we're going to bring in the ladies sounds like this good new none and here we go correct good new Anduin bring in the ladies good new new and that's it right use that G good no none excellent steep vertical correct use the team rate good no none my there's some lady's good no none two more last time good new done fantastic work and so that will help you to stay solid and stable as you traverse your mix so I hope that's been helpful for you guys today on part three of our vocal register world tour if you've got questions you'd like to see us answer on the show you can send an email to questions at voice lessons to the worldcom and you know I encourage you don't lose that joy don't lose that passion don't let people tell you you can't sing you and I both know that's false get with a great voice teacher near you or if you're in New York or you'd like to Skype with one of our staff you can visit us at New York vocal coaching comm if you'd like a vocal course that you can do in the comfort of your own home check out the voice lessons to the world vocal course a 12 part course that takes you on a singing journey from beginner to master level vocal exercises can find that at voice lessons to the worldcom and if you would like three daily vocal tips sent to you every day sign up at daily vocal tips calm i'm justin stony until next time make a joyful noise it's a me the man Hakuna welcome to episode 86 of voice lessons to the world the show where we want to help you as singers by answering your questions from all over and I'll give you a chance to ask questions later but our question for this week comes from Justin the cricothyroid muscle is a muscle that runs between the cricoid cartilage and the thyroid cartilage in the larynx moves those two cartilages together when this happens the vocal you.
Well hi there today we're going to be talking about nixed voice so mixing your chest voice and your head voice and finding that register that resonance that's between the two voices ah this video is going to apply to both male and female singers so I'm Felicia you can call me fel I'm a professional voice finder and it's my sworn duty to help you find your voice in the simplest and clearest ways possible that's sort of how I teach so if you're into that check out my channel so the simplest way to conceive of chest voice versus head voice is to think about dividing your face in half your head in half and slicing it right across like from your mustache back and any sound that lives or vibrates underneath that in your mouth is chest voice okay and anything that feels like it's heavier or above that is head voice okay I'll do a quick demo chest voice resonates in the mouth it's speaky ah singing in chest voice I have another video on chest voice if you have questions about how to find that feeling and then there's head voice which we kind of allow to permeate through this imaginary hallway here and live higher up so now that we understand that we kind of have these two different worlds these two different places where the sound can spin sound and singing is created by breath okay but basically I think if it is just sort of hitting places in your face that's really what creates tone so we want to through aiming a sound through shaping our face get the sound to live between chest voice and head voice and it's going to be right here in this hallway which is sort of like right here and I'll get to that soon we can sing between chest voice and head voice without it popping up and without being sort of contained down here okay in order to find that mixi nasopharynx ii placement basically I want you to imitate a baby okay a baby crying what what what okay it sort of sounds nasty it's very pinging and when you do it make sure you don't collapse the front of your face make sure it's like open no what what okay another way you can do is you can plug your nose and feel the feeling of oh I can get my sound to spin right here so you can't blow your nose and get your cell to spit back here but I want you to plug our girls that let it kind of push up against the front of your face oh my nose look just hard hurt my nose once you find that basil residence I want you to let go but keep talking in that place when when it might take a few tries I think a lot of singers get discouraged when it doesn't instantly happen so pause the vid look in your mirror make different faces actually reshape your face to try to get that baby sound limp what what we're just going to use that sound and create mixed voice as always step one the singing is make sure you're using your breath you're engaging your breath and step two for this particular purpose of finding mix voice I want you to find that baby feeling third step in mixing your voice is to make sure you lift your soft palate basically the back of your your mouth is where your soft palate lives if you laugh for me really quick hahaha like actually just be like huh that's really funny you can feel your palate naturally raised another way to think of that is if you yawn we raise our palettes up and when you sing it's a non-negotiable you have to have space in the back of your throat so these three things combined breath a nice relaxed breathing exhale as you sing accessing the daily cry but then not collapsing back here instead lifting back here those three things together are going to allow you to traverse between chest voice and head voice and the way you can do it is this simple exercise 1 1 1 1 1 1 1 1 1 when you feel like you're about to hit a ceiling relax wah-wah-wah-wah-wah keep that baby feeling wah wah wah wah wah it's an activated breath so while you're doing this you might have the urge to grip or tense or guide the sound try as you can to stay relaxed and really small with this feeling it's gonna be living right here ok and as you do it you might be kind of freaked out you might be like wait what just happened why is it not traditionally popping into a head voice or why don't I really feel my break it's because we're kind of going through it could even put your fingers on your face to sort of feel ok where am i aiming what am i doing and this takes some practice um it's not you know good necessarily happen immediately but for a lot of people that baby cries sound is a really good way to access this nasopharynx so once you've memorized this coordination of using breath staying open the back of your throat but shaping your face to have that babyish sound that twinge of baby nests in your voice you're going to basically you can use that configuration that kind of facial structure um when it's time for you to mix um so I would suggest practicing on easy vowels like a wet or an yeah neon yawn yawn yawn yawn yeah yeah yeah things are gonna allow you to really access that feeling easily and then you can apply it really to any vowel once as I said this applies to both male and females men and women have different locations where their registers change or where they typically feel that shift between chest and head voice but the same principles apply and then as you're doing this just follow those cues of staying very lifted but also I think of it as sort of having a tall kind of water slide where we allow this time to go up but then we usher it forward into the mouth yeah which is how we kind of get that blended chest and head feeling so that's the basics on finding your mixed voice it's actually kind of about just memorizing that sensation it's not really that complicated it's just a coordination that you have to get used to so please leave me a comment and let me know if this was helpful if there were parts that were helpful if there were parts that were confusing definitely leave me a comment so I can know for future videos and any other questions you have about singing I really brainstorm my next video topics based on what you guys suggest so I would love to hear from you about what ever you know topic you have questions about also if you are into this sort of thing please check out my free belting course it's called belting crash course and you can sign up right here we do talk a lot about mixed voice throughout the belting course since belting and mixing are very closely related so if you're into that definitely check it out it's completely free and if you're a singer if you're just interested in in singing if your singing teacher please check out my channel and definitely subscribe if you want to get more videos like this delivered to you every week so thanks so much guys.
Hey guys welcome to Ken Tamplin Vocal Academy where the proof is in the singing! Today we’re going to talk about mixed voice. What is mixed voice, and how do we get it and how do we utilize it, how do we use it? Well, it’s actually a pretty expansive subject, so I’m not going to get to cover everything today, but what I am going to do is I’m going to break down the basics of it so you understand the concepts, okay? The first thing is: I want you to think of your voice like building a house. Okay, or building something. And we need the foundation to be really strong in order for the rest of the house to be able to hold up to what it is we’re gonna put on it. We want bedrooms, we want a rec center, we want you know, a Jacuzzi. I don’t care what it is in your house, but you want all this stuff to hold up and it needs a foundation.
So as I cover in my singing course, How To Sing Better Than Anyone Else, we have to build up, first, a great, powerful, robust chest voice to sustain all of these rooms that we want to add on to the home. Now, in this case of head voice actually want to build head voice in a similar way, because I don’t want to compartmentalize something, but I want to kind of draw an analogy for you. I want you to think of your leg, and you’re going to kick a soccer ball, and you’re going to whack the soccerball with your leg, right? I want you to think of your chest voice like your biceps, right your forearm right? And I want you to think of, oops, your biceps, this is your biceps.
My bad. Anyway, your biceps. And I want you to think of your elbow as the passaggio, or the passageway to get to your head voice. And I want you to think of your forearm as your head voice. So you’re going to kick this soccerball, boom! Right? Boom! Now, several things have to happen, in order to be able to do that.
And I go “HEEEEEEEEEEEEY”. I started in chest. I went into mixed voice. I went into head voice. I went back into mixed voice. And I came back down into chest. Now, there’s a lot of stuff on the Internet floating around. They say everybody is “let’s talk about mixed voice!”” Let’s go straight to mixed voice!” Well, it’s not really that easy, and you probably found yourself getting really frustrated “I just can’t get it! How do I get, you know, I’m not getting this center where I’m when I break “AAAAAAAAAAAA” “AAAAAAAAAAAA” “How do I keep from cracking? How do I not get into that space?” Well, that’s because people aren’t explaining this that well, so I’m going to give you my personal rendition of how this, it works. So, within chest voice we build our chest voice very robust. And there’s something called secondo passaggio, the second passageway where that break happens, the register break. As I go through this break, I need to be able to strengthen my elbow, right, to get into my forearm, right, to do this soccer kick: boom! To hit this ball, to get up top, right? Well, I can’t apply a lot of pressure to something I haven’t built strength up for.
So I’ve got to build this strength up first. But where does the strength come from? Well, it has to be anchored to something. It’s got to be anchored to here. If I just go like this, that’s not going to mean much, I’m not going to have much power in that. But if I have a lot of, you know, resistance, and the ability to swack that ball, so to speak, if you will… In fact let’s think of this more like this is my quad of my leg, and this is my calf of my leg, and this is my knee. So let’s look at it for a minute like this. I’ve gotta swack that ball. I need the strength to come from the torque of my body to get that ball, to hit it, to hit it hard, okay? Well, this couldn’t be more true, for how we train the voice.
So first we train our chest voice, and then we train our head voice. And I have chest voice videos, by the way I have a singing course out called How To Sing Better Than Anyone Else. If you want to check it out you can check it out here. You can check out my singing forums, I’ve got almost 10,000 members now, where we discussed all of these ideas. In fact, like and subscribe to my channel, if you want to hear more of this stuff. That would be awesome too. Just click the like button, that would be cool! But what happens is, is that we have to build the whole house. We can’t just talk about one subject and tack it on to another subject.
It does not work that way. So we build the house first with a strong chest voice, and then we build the head voice, and then we build a way to connect the two, which is the passaggio. The passaggi, second passageway. Now, actually there are two passageways through the voice. Primo passaggio, which is from my speaking register into what’s called my call register, or my belting register.
So right now I’m talking to you in my speaking register. Hey how’s it going? Pretty good, a how are you doing? Well not bad. Thank you. All right? So when I go “Heeeeeey”. Right there, I kind of shift gears a little bit, and I move into a belting register. Heeeeey, yeay, yeay, yeah, aaaaa! I move into like a belting register. Now once I do that I’m like “Oh, crap! I’ve got all this weight, and I’ve got to dump this weight to get through the passagio to make it up top.
Heeeeeyyy! Now, what I can do is I can back off the sound, to get me through the passaggio, in order to get into my head voice. If I’ve built my chest voice really strong, and if I’ve built my head voice really strong, all I need to do is build this knee or elbow of the secondo passaggio, the second passageway, to get me so I don’t hear that yodel. Now this doesn’t happen by belting or pushing or forcing through the sound. It happens by growing that area. So what I want to do with you guys here right now, is do a couple exercises, just a couple slider exercises they’re called, where you can get through the passagio really lightly first. Real gentle, be really gentle. Try to do it to where you don’t hear the break at all, and then little by little you can lean into the sound to grow it. It’s a muscle, like any muscle in your body.
You can grow this thing. So we’re going to start here, and we’re going to go: LAAAAAAAAAAAAY! On Lay, like Lay! Here we go… LAAAAAAAAAAAAY! Now make sure that you’re not going (Sings with yodel/break) Right? You're actually just gently starting the initial stages of growing and building that passaggio. LAAAAAAAAAAAAY! Now how we do this is we force that throat to stay open. Force the throat, or, encourage the throat to stay open. LAAAAAAAAAAAAY! LAAAAAAAAAAAAY! Now. If you’re going up top and you’re going into your head voice, please see my video on head voice. You have to first build strength in the head voice to get nice and bright to match the timbre, or the sound, or the brightness of your chest voice, so it sounds like one long, seamless, powerful note. Okay? LAAAAAAAAAAAAY! And little by little, as you get good at this, you can start to lean into that sound, and build strength into your mixed voice. LAAAAAAAAAAAAY! That sound: AAA AAAA AAAA you hear that sound? LAAAAAY, AAA? You’re like I’m kinda like lifting the soft palate, I’m raising the back of the throat, I’m pulling up the yawning sensation, to where I can create enough space, and to open that throat: LAAAAAAAAAAAAY! To where I don’t hear the break and I don’t hear that yodel, but I can create enough space to get in there and then start to lean into that sound, and make that sound nice and robust.
And therein lies your mixed voice. Okay? All right, guys! We've got more coming your way! If you like what you heard, please like and subscribe. Check out my singing course called How To Sing Better Than Anyone Else. This will help you like crazy. And until next time. Peace. Out.
So how to erase the vocal break well the biggest reason that you're going to have trouble with the vocal break though it's not again not a break it's just a shifting of resonance from your chest to your head and so it can feel like a break if especially you don't have enough control and power in the head resonance range so why not ah that's all completely head resonance but just different amounts of power song and that head residence you need to spend tons of time singing up in that head resonance area in order to have something to mix that chest resonance with because the problem is most people they can't mix into that head resonance because they really don't have any control over that area because they don't spend very much time singing in that part of their vocal range and it's not going to sound good for a while okay it's going to sound awful and then finally gradually little by little over the course of months of spending lots of time seeing in that area your voice in your muscles and all this stuff will get used to resonating and coordinating in order to sing in that area and then you're going to have something to mix with which is mixing again that are those resonances so I'm just going to do a little part of the song so you can kind of see that if I went somewhere that's very light right that's kind of falsetto ish because it's very light um sounding somewhere somewhere okay so I think that's around an f-sharp that high note so if I was going to sing out with a little bit more power I go so some some Wow somewhere right now I get a little bit more because I have control or getting better control of that head resonance area so I can mix the resonance a little bit harder into that area okay so at first I'm just singing very lightly and then you'll want to mix a little bit more somewhere somewhere some well somewhere love them you know so you're doing like that somewhere now I've got like full kind of chesty power but it's actually totally just resonating in my head it's just that I've gotten used to finding those spots and now being able to push just a little bit harder into that note so somewhere somewhere somewhere so you hear those different dynamics and you need to spend a lot of time first starting out light if you can't push into a little bit more so over time you are able to add a little bit more and more power because your voice is used to coordinating in that more head resonant placement another exercise you can do for this though I'm not huge on exercises except when it's just first find a little bit of that coordination but really I think singing songs is the better thing to do just pick little portions of songs and just practice them over and over again little couple you know a couple lines for a song or one line from a song that you want to sing and practice it at different tonal registers or tonal placements you can start really high on that ah ah and that's getting rid of that break going starting down and then going up I I think it's better most of the time to start up and go down especially in the warm-ups so start up go down and then start even higher up and then make your way down so something to the idea and just still that breaking little thing in there the tiniest little bit but it won't be in there when you actually go to sing parts of songs because you're not doing sliding little stuff in songs you're really just hitting on those individual notes and your voice will learn those coordination for each one of those notes that's why even though I don't have a any kind of tonal gauge around I pretty much know somewhere that's around an f-sharp because I just know in my voice that that's about how an f-sharp feels physically for me.
How To Sing Mixed Voice: How Can I Tell if I’m in Mixed Voice? How Can You Tell if You are In a Mixed Voice? There are 3 things, that if present in your voice, means you absolutely cannot be in mix. Watch and find out what those 3 things are. Hi! I’m Chuck Gilmore with Power To Sing. Absolutely No Mixed Voice Here are 3 things that if present in your voice means you cannot be singing with a Mixed Voice.
Where is Mix: The First Bridge of the Voice For simplicity I’ll talk about the Mix in the first bridge of the voice. For the women it’s the A above Middle C; A, Bb, B, and C5. For the men it’s the E above middle C; E, F, F#4. What is Mixed Voice For Mixed Voice to be present in the first bridge of the voice there must be a blend or mix of chest and head voice. If you are missing chest or head voice you cannot be singing in mixed voice. How to Sing Mixed Voice: If Chest Voice is absent, you are not in Mixed Voice If your vocal cords are disconnected you are in falsetto and there is no chest voice. Here’s an example of falsetto brought down to where chest should be. [Demo] If your vocal cords are coming together so lightly that there’s virtually no chest resonance you have no chest voice.
Here’s an example of such a light cord connection there’s no resonance. [Demo] Without chest voice, there is nothing to mix with head voice. In other words there is no mixed voice. How to Sing Mixed Voice: If Head Voice is absent, you are not in Mixed Voice This is the same as discussed with chest voice. If the vocal cords are disconnected into falsetto, there is no head voice, only falsetto. (Watch Episode 28 to learn the difference between Head Voice and Falsetto) Here’s an example of falsetto in the higher range.
[Demo] In contrast, connected head voice. [Demo] 3. If you pull chest voice into the the First Bridge and beyond, there is no head voice, just pulled up chest voice. [Pulled up Chest Demo] Without head voice, there is nothing to mix with chest voice. In other words, there is no mixed voice. There are also imperfect qualities of Mixed Voice. Imperfect Mixed Voice When we first learn to sing with a mixed voice, it’s rare that our mix is perfect. For example: Your Larynx is high and you are pitchy and the resonance is incomplete Your vowels are splatting You pulled chest too high before you got into mix Your chest voice is light, therefore your mix lacks vibrance and strength. There is some strain in your mix, the vibrato is slow, the voice is pinched. You over narrow the vowels and your words are distorted or unnatural Your cords disconnect momentarily, but then reconnect If your mixed voice is imperfect, aren’t you actually not in a mix? You are in a mix, but it needs continual refining and improvement. Mixed Voice and Vocal Types This is where understanding your vocal type becomes so important.
You may be in a mixed voice but the larynx tends to be high. So, your vocal type is Pulled Chest/High Larynx. Doing the exercises for Pulled Chest-High Larynx will counteract your tendency to have a high larynx and move you closer to an ideal mixed voice. Most of us tend to do certain things when we sing. Even when we are able to sing in and through the bridges, it’s possible that our mix still needs development and refining. Mine does. Do you know your vocal type? This has a direct bearing on learning how to mix or improve your mix. Go to PowerToSing.com and take the vocal test, which I call the PowerTest. Take the quiz and discover your vocal type. Then go to the Knowledge Center and watch the videos about your vocal type. Download the free vocal exercises and start doing them. You will start seeing improvement in your voice very quickly. You will be able to move closer to an ideal mixed voice. I’m Chuck Gilmore with Power To Sing. If you like this article please share it and also visit the how to sing page for more singing tips.